I urged my friend to procure me material for mastering the subject of the Meistersinger.  My first idea was to make a thorough study of Grimm’s controversy on the Song of the Meistersinger; and the next question was how to get hold of old Wagenseil’s Nuremberg Chronicle.  Cornelius accompanied me to the Imperial Library, but in order to obtain a loan of this book, which we were fortunate enough to find, my friend was obliged to visit Baron Munch-Bellinghausen (Halm), a visit which he described to me as very disagreeable.  I remained at my hotel, eagerly making extracts of portions of the Chronicle, which to the astonishment of the ignorant I appropriated for my libretto.

But my most urgent task was to secure some means of livelihood during the composition of my work.  I applied first to the music publisher Schott at Mayence, to whom I offered the Meistersinger if he would make me the necessary advance.  Being animated by the desire to provide myself with money for as long a time as possible, I offered him not only the literary rights, but also the rights of performance for my work, for the sum of twenty thousand francs.  A telegram from Schott containing an absolute refusal at once destroyed all hope.  As I was now obliged to think of other means, I decided to turn to Berlin.  Bulow, who was always kindly exerting himself on my behalf, had hinted at the possibility of being able to raise a considerable sum of money there by means of a concert, which I should conduct; and as I was at the same time longing to find a home amongst friends, Berlin seemed to beckon me as a last refuge.  At noon, just before the evening of my intended departure, a letter came from Schott, following on his telegram of refusal, which certainly held out some more consoling prospect.  He offered to undertake the publication of the pianoforte edition of the Walkure at once and to advance me three thousand marks to be deducted from a future account.  The joy of Cornelius at what he called the salvation of the Meistersinger knew no bounds.  From Berlin Bulow, in great indignation and evident low spirits, wrote to me of his dreadful experiences in attempting to organise my concert.  Herr von Hulsen declared that he would not countenance my visit to Berlin, while as to giving a concert at the great Kroll Restaurant, Bulow found after much deliberation that it would be quite impracticable.

Whilst I was busily engaged on a detailed scenic sketch of the Meistersinger, the arrival of Prince and Princess Metternich in Vienna seemed to create a favourable diversion on my behalf.

The concern expressed by my Paris patrons about me and my position was undoubtedly real; therefore, in order to show myself gratefully disposed towards them, I induced the management of the Opera to allow me to invite their splendid orchestra for a few hours one morning to play some selections from Tristan in the theatre by way of rehearsal.  Both the orchestra and Frau Dustmann were quite ready to grant my request